( do you want make ,,,
_________________ no way out of the labyrinth____
______mai 2006 -december 2007___________
Nothing : quelques milliers de fichiers///;;;ETC... Devil/Paradis, Réseau 666, Liens, LinXs, Bande sonore, Publications, ETC à l'..............., , , http://www.thierrytillier.com/_________________________________________________
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At the 1951 Cannes Film Festival, 19-year-old Guy Debord meets Isidore Isou's lettrist group which projects (to a booing audience) a film called "Treaty of Dribble and Eternity"; a film made of found-image collage, sometimes deteriorated, with a sound track of onomatopoeic poetry and monologs. This work is in the lineage of dadaism and Italian futurism, in particular in that of Kurt Schwitters and his "Ursonate". Isou and the lettrists (Maurice Lemaître, Gil J. Wolman), picking up the iconoclastic load of the dadaists and the first surrealists before them, want to carry to term the self-destruction of artistic forms. Traditional art is declared dead; one suggested alternative is "hijacking," the joining of already-existing elements into new creations. The lettrists hope to overcome the division between artist and spectator, between life and art; the world is to be dismounted and rebuilt under the sign of generalized creativity. They also organize small scandals (Easter, 1950, in the cathedral of Notre-Dame, a young man disguised as a Dominican takes the pulpit and announces to the faithful the "death of God"), and specialize in the sabotage of the Cannes Film Festival.
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Nous vivons dans un monde où la plus haute fonction du signe est de faire disparaître la réalité dans une profusion d'images où il n'y a plus rien à voir, et en même temps de masquer cette disparition.[...] Parce que rien ne veut plus exactement être regardé, mais seulement absorbé, et circuler sans laisser de traces. [...] Mais, rigoureusement, ce crime n'est jamais parfait, parce que le monde se donne au-delà de ses apparences, il le fait par les traces de son inexistence, par les traces de la continuité du néant. Avec le néant lui-même, la continuité du lien laisse des traces. C'est en cela que le monde trahit son secret. Il s'escamote lui-même, à chaque instant en se cachant derrière ses propres apparences.
(Jean Baudrillard - Le crime parfait - 1995)
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We are living in a world where the higher function of the sign is to make disappear reality in a profusion of images, where there is nothing to see any more, and at ounce to mask this disappearance. [...] Because nothing wants to be looked at, any more, but only absorbed, and digested without leaving tracks. [...] But, precisely, this crime is never perfect, because the world gives itself away through appearances, which are the traces of its inexistence, traces of the continuity of nothingness. For nothingness itself, the continuity of the link leaves traces. It is by this that the world betrays its secret. It is by this that it lets itself be felt, all the while concealing itself behind appearances.
(Jean Baudrillard - The perfect crime - 1995)
((( before/after ,,,
((( lettrist ;;;;